I recall 1% resistors were only easily available in metal film type. I'm guessing the lower noise and better stability of metal film would have been of as much importance as tight values in these circuits. Saying 1% tolerance might have just a been slightly roundabout way of specifying them.
There was a lot going on in my heart as I was watching this video. After acquiring hearing loss, I felt out of road in my journey of around music. Even in music technology everything is built for sound. I could hardly imagine what I could help with if I can't discern the changes in the timbre. But it did sweep a bit off the powerlessness I had earlier on at that moment of me seeing the rewarding influence of the efforts you put in teaching this class and making these videos on some later curious researchers. Maybe one day I could be like you in serving for the later use of music people.
Dr. Lanterman, I suggest TS924 op amps (with +/-6 v supplies). You'll find them to be excellent for the Buchla topologies. And they source and sink marvelously, so you may be able to use sections as DC bias supplies without issue. I also suggest using half of a LM13600 OTA in the position of op amp 29; as it has linearization diodes and that do what you're describing at 8:25. Note that the RCA OTAs were Bob Moog's favorite ICs. To my ears, the sounds from this process are reminiscent of formant filter processes.
Looking at the deadband circuit, if you take the output straight from the op amp instead, you get a saturation nonlinearity. It seems to me that the nonlinearity of the 259 wavefolder could just as well have been made by summing together these saturation nonlinearities instead of the deadband nonlinearities, and then you wouldn't have to to worry about the load resistance from the summing stage. I wonder why Buchla went with the former approach instead of the latter?
"I wonder why Buchla..." is a frequently uttered phrase when looking at Buchla schematics. They really seem like they're from some mysterious parallel quasi-magical reality.
thank you for this great explanation of what's going on there. i don't spend a lot of time in Buchlaland and i get confused by the nomenclature so this was a big help in understanding what's going on. if you think it's unique enough and want to do a lesson on the Haible wavefolder (STG Soundlabs Wave Folder) let me know and I'll send you a unit to play with and as a tribute.
I'm a physics student and when you mentioned bessel functions I got severe Quantum Mechanics flashbacks. still amazing videos tho, thanks for putting em up
That DAFx paper is how I found my way to this UA-cam channel
I recall 1% resistors were only easily available in metal film type. I'm guessing the lower noise and better stability of metal film would have been of as much importance as tight values in these circuits. Saying 1% tolerance might have just a been slightly roundabout way of specifying them.
There was a lot going on in my heart as I was watching this video. After acquiring hearing loss, I felt out of road in my journey of around music. Even in music technology everything is built for sound. I could hardly imagine what I could help with if I can't discern the changes in the timbre. But it did sweep a bit off the powerlessness I had earlier on at that moment of me seeing the rewarding influence of the efforts you put in teaching this class and making these videos on some later curious researchers. Maybe one day I could be like you in serving for the later use of music people.
Cool Thanks for the explanation.
You are welcome!
Thank you so much for these! Really inspirational
Dr. Lanterman, I suggest TS924 op amps (with +/-6 v supplies). You'll find them to be excellent for the Buchla topologies. And they source and sink marvelously, so you may be able to use sections as DC bias supplies without issue.
I also suggest using half of a LM13600 OTA in the position of op amp 29; as it has linearization diodes and that do what you're describing at 8:25. Note that the RCA OTAs were Bob Moog's favorite ICs.
To my ears, the sounds from this process are reminiscent of formant filter processes.
Looking at the deadband circuit, if you take the output straight from the op amp instead, you get a saturation nonlinearity.
It seems to me that the nonlinearity of the 259 wavefolder could just as well have been made by summing together these saturation nonlinearities instead of the deadband nonlinearities, and then you wouldn't have to to worry about the load resistance from the summing stage. I wonder why Buchla went with the former approach instead of the latter?
"I wonder why Buchla..." is a frequently uttered phrase when looking at Buchla schematics. They really seem like they're from some mysterious parallel quasi-magical reality.
thank you for this great explanation of what's going on there. i don't spend a lot of time in Buchlaland and i get confused by the nomenclature so this was a big help in understanding what's going on.
if you think it's unique enough and want to do a lesson on the Haible wavefolder (STG Soundlabs Wave Folder) let me know and I'll send you a unit to play with and as a tribute.
Oh, that's very kind of you! I will be in touch. Yes, that is a great circuit.
I'm a physics student and when you mentioned bessel functions I got severe Quantum Mechanics flashbacks. still amazing videos tho, thanks for putting em up
right??